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Chelsea Joy Wolfe (born November 14, 1983)[1] is an American singer-songwriter and musician. Her work blends elements of gothic rock, doom metal, and folk.

Growing up in Northern California with a country musician father, Wolfe began writing and recording songs during her childhood. She began to earn recognition for her albums The Grime and the Glow (2010) and Apokalypsis (2011), which blended gothic and folk elements. In her next few albums Pain Is Beauty (2013), Abyss (2015) and Hiss Spun (2017) Wolfe incorporated elements of neofolk,[2] electronic music and heavy metal.[3][4] Her evolution continued with Birth of Violence (2019) and She Reaches Out to She Reaches Out to She (2024).

In addition to her solo career, she has collaborated with the band Converge on the album Bloodmoon: I (2021) and composer Tyler Bates on the soundtrack to the 2022 film X. She has also featured on songs by artists including Russian Circles, Deafheaven, Myrkur and Xiu Xiu.

Early life

[edit]

Wolfe was born in Roseville, California,[a] near Sacramento, and raised in both towns. She is of English, Norwegian, Swedish, and German descent.[6][7][8] Her father was in a country band[9] and owned a home studio. Wolfe lived with her grandmother during a part of her childhood, who taught her about aromatherapy, Reiki and "other realms".[10][11]

By the age of 7, she had written her first poem,[12] and by the age of 9, had written and recorded songs which she later described as "basically Casio-based gothy R&B songs".[13]

Of her childhood, Wolfe said, "I grew up pretty fast. I had older sisters. By the time I was 11, I was drinking 40s."[12] She struggled with sleep paralysis as a child and through her teens, which landed her in the hospital for sleep studies; these experiences eventually became material for her albums Abyss and Hiss Spun.[14][15]

Career

[edit]

2006: Mistake in Parting

[edit]

In 2006, Wolfe composed an album, titled Mistake in Parting, which was never officially released.[16] Of the album, Wolfe said: "I was 21 years old and wrote a shitty singer-songwriter breakup album. I didn't even really want to be a musician back then, but a lot of my friends were like 'let's do this, I've got some producer friends' and they helped me make this over-produced, terrible record... I sort of took a break from music for a while since I wasn't happy with what I was making".[16] Wolfe later commented that she scrapped the album largely because it had been written about events in her personal life: "I was writing really personal stuff about my own life, and I didn't feel comfortable at all... I didn't want [my music] to be so much about myself, and I just had to find a new perspective".[17]

2010–2012: The Grime and the Glow and Apokalypsis

[edit]

Wolfe's first widely released album, The Grime and the Glow (2010),[18] was issued on New York-based independent label Pendu Sound Recordings, preceded that same year by the limited-edition albums Soundtrack VHS/Gold and Soundtrack VHS II.[19] Her 2010 cover of Burzum's "Black Spell of Destruction" helped her receive her first exposure after it was highlighted in a notable blog.[20] Her next album, Apokalypsis (2011), stylized as Ἀποκάλυψις, gained her an underground following,[21] as well as critical acclaim, receiving favorable reviews in Pitchfork[22] and CMJ.[23] Wolfe toured extensively in North America and Europe to support both albums, and suffered from extreme stage fright; when she initially began performing live, Wolfe would wear a black veil over her face.[24] "Performing was something that I had to learn," she said. "I could barely handle being onstage for the first few years, and it's the reason it took me so long to start my career as a musician".[25]

2012–2022: Sargent House

[edit]
Wolfe performing San Francisco, California, 2013

In 2012, Wolfe covered five songs by British anarcho-punk band Rudimentary Peni, and issued them as A Tribute To Rudimentary Peni on February 17 as a free download via Pendu Sound. She later rerecorded the Peni songs with her band at Southern Studios in London,[26] and released them as an EP, Prayer for the Unborn, in January 2013 on Southern Records.[27]

Wolfe signed with the label Sargent House in 2012 to release her third album.[28] Unknown Rooms: A Collection of Acoustic Songs was released on October 16, 2012,[29][30][31] and featured a more folk-oriented sound, as opposed to her earlier work, which had been heavily centered on droning electric guitars and distortion. The acoustic album contained "'once-orphaned' songs",[32] according to Wolfe. On July 28, 2012, the first single, "The Way We Used To", was premiered on NPR.[32] On September 20, the second single, "Appalachia," was premiered on The Fader.[33]

Wolfe released a live album, Live at Roadburn, on September 28, 2012, recorded that April 12 at the Roadburn Festival in Tilburg, Netherlands.[34] Wolfe's fourth studio album, Pain Is Beauty, was released September 3, 2013,[35] as well as an album trailer,[36] followed by a supporting North American tour. During 2013 and 2014, Wolfe released two split 7-inch singles with King Dude, Sing Songs Together... and Sing More Songs Together...,[37] and a live EP, Chelsea Wolfe Folkadelphia Session May 31, 2014.[38]

Wolfe also contributed guest vocals to the American post-metal band Russian Circles' fifth studio album, Memorial, released in October 2013. Wolfe and Russian Circles toured Europe together in late 2013.[39][40]

In 2014, she released a long-form film, Lone, featuring music from Pain Is Beauty and directed by Mark Pellington.[41]

"Carrion Flowers", "Iron Moon" and "After the Fall" were released as the second, third and the fourth singles, respectively, from her fourth album, Abyss (2015). Abyss featured Wolfe exploring neofolk[2] and electronic music[3] and embracing more of her heavy metal influences.[42]

Wolfe performing in 2016.

On April 1, 2016, Wolfe released the non-album 7-inch single "Hypnos",[43] preceded by a music video on March 22.[44] In January 2017, she announced a UK/European tour to begin in April.[45]

Her fifth studio album, Hiss Spun, was released by Sargent House on September 22, 2017.[46] The album featured guitar work from Queens of the Stone Age member Troy Van Leeuwen, was recorded by Kurt Ballou and features a guest appearance from Aaron Turner.[47] She toured in late 2017 to promote its release.[47] Wolfe also appeared in collaborations on the 2017 Myrkur album Mareridt[48] and the 2018 Deafheaven album Ordinary Corrupt Human Love.[49]

In March 2019, she revealed that her upcoming album will be largely acoustic, is being recorded in the woods of Northern California, and inspired by current events. Longtime collaborator Ben Chisholm co-produced the album, featuring some guest players such as drummer Jess Gowrie.[50] On June 18, 2019, Wolfe announced her sixth studio album, Birth of Violence and released the first single off the album, "The Mother Road". The album was released on September 13, 2019.[51]

In January 2021, Wolfe chose to get sober[52] and teamed up with Emma Ruth Rundle for the single "Anhedonia" released digitally via Wolfe's Bandcamp store. In March 2021, Wolfe teamed with Xiu Xiu to cover the song "One Hundred Years" by The Cure for Xiu Xiu's duets album Oh No. On May 26, 2021, "Diana," a collaboration between Wolfe, bandmates Ben Chisholm and Jess Gowrie, and Tyler Bates was released as a part of the Dark Nights: Death Metal soundtrack.[53] On September 21, 2021, Wolfe released the B-Side of her sixth studio album, Birth of Violence, featuring the previously unreleased track "Green Altar" and a cover of Joni Mitchell's "Woodstock."[54] A documentary detailing the 2019 tour was released alongside it.[55]

On November 19, 2021, Bloodmoon: I, a collaborative album comprising Wolfe and metalcore band Converge was released. The album also includes contributions from long-time Converge collaborator Stephen Brodsky of Cave In, and Ben Chisholm. The project originated from a performance at the Netherlands’ Roadburn Festival in 2016, where Wolfe and Converge performed a set of reworked Converge songs under the moniker Blood Moon.[56]

2023–present: She Reaches Out to She Reaches Out to She

[edit]

On September 20, 2023, Wolfe announced that she had signed with Loma Vista Recordings, and released her debut single with the label, "Dusk".[57] On October 24, she announced her eighth album, She Reaches Out to She Reaches Out to She, and released the second single, "Whispers in the Echo Chamber".[58] The album was released on February 9, 2024, to positive reception. Wolfe toured the album throughout the year, including appearances at European festivals including Roadburn, Primavera Sound and Hellfest.[59][60][61] She accompanied the album with the Undone EP of remixes and the Unbound EP of acoustic versions.[62][63] On May 4, 2025, Wolfe teamed up with the industrial/noise rock band Health for their collaborative single "MEAN" released digitally via Health's YouTube channel.[64]

Collaborations

[edit]

Converge

[edit]
Wolfe collaborated with Converge for their album Bloodmoon: I.

In April 2016, Wolfe and bandmate Ben Chisholm were special guests for Converge's collaborative live performance, Blood Moon, along with Stephen Brodsky of Cave In and Steve Von Till of Neurosis. Limited to four European performances, the collective performed "ambient/post-rock interpretations"[65] of various tracks from Converge's discography, particularly songs of their "lesser-heard and slower work".[66] The first Blood Moon set took place at Postbahnhof in Berlin on April 11.[67] The second took place at La Cartonnerie in Reims on April 12.[67] The third took place at Electric Brixton in London on April 13.[67] The fourth and final Blood Moon show took place at the Roadburn Festival in the Netherlands on April 16.[67] On September 28, 2021, Converge announced that the band and Chelsea Wolfe had collaborated again for the former's tenth studio album Bloodmoon: I, released on November 19, 2021.[68]

Mrs. Piss

[edit]

On May 14, 2020, Wolfe and her friend and drummer Jess Gowrie announced their collaborative project Mrs. Piss and their debut album, Self-Surgery with release date on May 29, 2020, through Sargent House.[69]

X soundtrack

[edit]

In March 2022, film production house A24 announced Wolfe's soundtrack album for the slasher film X. Her cover of "Oui, Oui, Marie" by Arthur Fields was released as a single ahead of the album.[70] The soundtrack involved Wolfe collaborating with composer Tyler Bates, and primary providing vocals for the synthesizer and 1970s-music inspired score.[71]

Equipment

[edit]

She composed her first two albums on her mother's classical guitar, which was missing a tuning peg; as a result, the strings had to be tuned down, which was a stylistic element carried on to the studio recordings.[72] Wolfe frequently plays both a 1979 and 2014 Gibson ES-335, which she used while recording her album Hiss Spun.[73] In a 2017 interview, she said that her 2014 Gibson ES-335 was "the best guitar I’ve ever had—every time I pick it up, I want to play it forever."[73] She also performs using several Fender guitars, including a Jazzmaster with a Stratocaster neck, and a Mustang with a Dean neck.[73]

For amplifiers, she has used a 1960s-era Gibson Titan, a 1970s-era Laney Klipp, and a Fender Bassbreaker 45.[73]

Musical style and influences

[edit]
Wolfe performing live, 2012

Wolfe has mentioned an array of artists and genres as influences, including black metal and Scandinavian folk music, but has said: "I do have a hard time sticking to one genre, and honestly I prefer it that way. I'd rather be free to experiment and make the kind of art I want to make than be easy to define."[74] Various critics have noted elements of doom metal, drone metal, gothic rock, folk, lo-fi, electronic, noise, and dark ambient in her music.[74][75] Aside from gothic[76] and experimental,[77] many critics have dubbed her sound "doom folk".[78] Wolfe has said: "I think deep down I wish I had one of those really gritty voices like Kurt Cobain, so maybe I'm making up for it with distorted guitars."[72] Wolfe has been noted as having a soprano vocal range.[79] Mojo described her music as "Siouxsie & The Banshees territory [...], with treated strings, echoing drums and lashings of reverb surrounding her double-tracked, crushed velvet voice".[80]

Wolfe has expressed a strong affinity for R&B music,[81] citing Aaliyah as a huge influence on her career since her childhood. She said, "I grew up listening to my dad playing guitar while singing harmonies... As a kid I wanted to record my own songs so he set me up with an 8-track. The vibe of those earliest songs was like, Aaliyah meets Fleetwood Mac – what I was listening to mixed with what my parents were listening to. "Age Ain't Nothing But a Number" was my favorite song back then."[82]

Other musical influences include Vladimir Vysotsky, Selda Bagcan, Nick Cave, Hank Williams, Townes Van Zandt, Suicide, SPK, various "1920s and '30s music",[81] Joy Division,[83] and more recently, Black Sabbath, Sunn O))), Deftones, and Neurosis.[84] In the past she mentioned Burzum as an influence, but later said that she considers Burzum's political views as too extreme.[85]

Wolfe has cited the visual elements of filmmaker Ingmar Bergman and photographer Nan Goldin as influences,[72] as well as the writings of D.H. Lawrence and Ayn Rand.[86] However, on September 24, 2015, she stated that with regard to her supposed affinity with Rand: "When I said I liked Ayn Rand many years ago I didn't know anything about what she stood for or what her books meant. I recant!".[87] Other writers she has mentioned as inspirations include Marcel Proust, Louis-Ferdinand Céline and Sylvia Plath.[81]

Since 2011, Wolfe has worked with New York-based costume designer and wardrobe stylist Jenni Hensler,[88] whom she credits with helping her cultivate and develop her own original image.[89][90][91] Hensler's costumes and styling work can be seen both in Wolfe's live performances[92] and music videos,[93][94] most recently in the video for "Be All Things."[95]

Discography

[edit]

Studio albums

[edit]

Compilation albums

[edit]

Live albums

[edit]
  • Live at Roadburn (2012, Roadburn Records)

Singles and EPs

[edit]
  • "Advice & Vices" digital single (2010, Pendu Sound Recordings)
  • "Prayer for the Unborn" EP (2013, Southern Records)
  • "Sing Songs Together..." split 7-inch single with King Dude (2013, Sargent House)
  • "Sing More Songs Together..." split 7-inch single with King Dude (2014, Not Just Religious Music)
  • "Chelsea Wolfe Folkadelphia Session May 31, 2014" digital EP (2014, Folkadelphia)
  • "Iron Moon" digital single (2015, Sargent House)
  • "Carrion Flowers" digital single (2015, Sargent House)
  • "After the Fall" digital single (2015, Sargent House)
  • "Hypnos" 7-inch single (2016, Sargent House)
  • "16 Psyche" digital single (2017, Sargent House)
  • "Vex" digital single (2017, Sargent House)
  • "Offering" digital single (2017, Sargent House)
  • "The Culling" digital single (2017, Sargent House)
  • "Be All Things" digital single (2019, Sargent House)
  • "The Mother Road" digital single (2019, Sargent House)
  • "American Darkness" digital single (2019, Sargent House)
  • "Deranged for Rock & Roll" digital single (2019, Sargent House)
  • "Woodstock / Green Altar" (2021, Sargent House)
  • "Dusk" (2023, Loma Vista)
  • "Whispers in the Echo Chamber" (2023, Loma Vista)
  • "Tunnel Lights" (2023, Loma Vista)
  • "Everything Turns Blue" (2024, Loma Vista)
  • "Undone" EP (2024, Loma Vista)
  • "Unbound" EP (2024, Loma Vista)

Music videos

[edit]
Year Title
2014 "Feral Love"
2014 "Kings"
2015 "Carrion Flowers"
2016 "Hypnos"
2017 "16 Psyche"
2017 "Spun"
2018 "The Culling"
2018 "Scrape"
2019 "American Darkness"
2019 "Be All Things"
2019 "Deranged for Rock & Roll"
2020 "Highway"
2023 "Whispers In The Echo Chambers"
2023 "Tunnel Lights"
2024 "Everything Turns Blue"
2025 "Place In The Sun (Unbound)"

With Mrs. Piss

[edit]

Band members

[edit]
Wolfe performing with her backing band at Hellfest in 2017
Current
  • Chelsea Wolfe – vocals, guitars (2009–present)
  • Ben Chisholm – synth, piano, electronics (2009–present) bass (2012–present)[96]
  • Jess Gowrie – drums (2017–present)[96]
  • Bryan Tulao – lead guitars (2017–present)[96]
Past
  • Kevin Dockter – lead guitars (2009–2015)
  • Addison Quarles – bass (2009–2012)
  • Drew Walker – drums (2009–2012)
  • Dylan Fujioka – drums (2012–2017)
  • Mike Sullivan – lead guitars (2015–2016)
  • Aurielle Zeitler – lead guitars (2016–2017)
Touring & session

Timeline

[edit]

Notes

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References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Chelsea Wolfe

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Chelsea Wolfe (born November 14, 1983) is an American singer-songwriter and musician renowned for her genre-blending work that fuses gothic rock, doom metal, folk, and electronic elements.[1][2] Raised in the Sacramento area of Northern California in a musical household—her father played guitar in the country band El Dorado, which opened for artists like Tanya Tucker—she began recording songs using his home studio equipment as early as age nine.[2] Now based in Los Angeles, Wolfe initially self-released music in the mid-2000s before gaining wider recognition with her 2010 debut full-length album, The Grime and the Glow, a raw collection of sparse, bedroom-recorded folk tracks that established her haunting vocal style.[1][3] Over the course of her career, Wolfe has evolved her sound across seven studio albums, incorporating heavier sludge metal riffs, industrial noise, and atmospheric electronics while maintaining a core of introspective lyricism.[4][5] Key releases include Apokalypsis (2011), which introduced denser instrumentation and apocalyptic themes; Pain Is Beauty (2013), blending folk with electronic grandeur; Abyss (2015), her heaviest work inspired by sleep paralysis; Hiss Spun (2017), produced by Converge guitarist Kurt Ballou; Birth of Violence (2019), a return to acoustic roots; and her latest, She Reaches Out to She Reaches Out to She (2024), a cathartic exploration of personal healing co-produced by TV on the Radio's Dave Sitek and mixed by Shawn Everett.[6][7][5][4][8][9] Wolfe's music frequently delves into themes of trauma, the supernatural, cycles of destruction and rebirth, and psychological introspection, often drawing from personal experiences like sleep paralysis and influences ranging from early R&B artist Aaliyah to the Book of Revelation.[2][8] Her live performances and recordings emphasize immersive, gothic aesthetics, earning praise for their emotional depth and sonic innovation, with critics noting her ability to make "sweetness heavy" and vulnerability visceral.[4][3] Beyond albums, she has contributed to film soundtracks, including Ti West's X (2022) and MaXXXine (2024), and toured extensively, including North American dates in 2024 supporting her latest release.[1][10][11]

Biography

Early life

Chelsea Joy Wolfe was born on November 14, 1983, in Roseville, California.[10] She grew up in the surrounding Sacramento area, particularly in the Old Roseville neighborhood, in a household deeply immersed in music.[12] Her father was a country musician who played in a local band called El Dorado and maintained a home studio where he recorded and performed.[13] This environment provided Wolfe with early, hands-on exposure to music creation, as her father involved her in band activities and shared his passion for the craft from a young age.[3] Wolfe's childhood was marked by an organic introduction to music, beginning around age nine when she started writing and recording her own songs—often melancholic in tone—in her father's studio.[14] Influenced by the family's record collection, which featured country and folk traditions alongside R&B and artists such as Fleetwood Mac, she developed a broad appreciation for diverse sounds.[15] Lacking formal music education, Wolfe was largely self-taught; her father handed down a guitar to her and provided informal guidance on recording techniques, while she independently learned to play both guitar and piano during her adolescence.[16] Her high school years in the Sacramento region further nurtured this interest, as she continued experimenting with songwriting and instrumentation in informal settings.[17] In the early 2010s, around 2010–2011, Wolfe relocated from the Sacramento area to Los Angeles to expand her creative horizons and immerse herself in a larger artistic community.[18] This transition allowed her to build on her foundational experiences and pursue music more intensively.[19]

Personal life

Wolfe relocated to Los Angeles in the early 2010s shortly after the release of her 2011 album Apokalypsis, a move that facilitated her connection with management and label Sargent House, enabling greater creative independence and the exploration of more intimate acoustic material on her 2012 release Unknown Rooms.[3] This shift from her Northern California roots marked a period of professional growth, allowing her to expand her audience while maintaining artistic control beyond initial perceptions of her work as occult-themed.[3] In the late 2010s, Wolfe returned to Northern California, settling at the base of the Sierra Nevada mountains near her hometown of Sacramento around 2017, seeking recovery from the exhaustion of extensive touring and a desire to reconnect with her origins.[20] The relocation provided a secluded environment surrounded by trees, where she adopted two cats and incorporated daily nature walks into her routine, fostering mental and physical rejuvenation through practices like yoga and meditation.[20] As of 2025, she continues to reside deep in the woods of Northern California, embracing an introverted lifestyle that includes simple rituals such as burning incense and using tarot decks like Kim Krans's Archetypes for personal reflection and inspiration.[21] Wolfe achieved sobriety from alcohol in January 2021, following a history of substance use that began in her pre-teen years and intensified during her touring career as a means to cope with creative and social pressures.[22] The process was influenced by the reflective isolation of the 2020 pandemic, during which she began work on her album She Reaches Out to She Reaches Out to She, though full clarity and thematic purging emerged only after sobriety took hold.[22] This journey also prompted her to end a toxic personal relationship, contributing to a broader sense of emotional liberation and reduced social engagement in her daily life.[22] Wolfe maintains privacy regarding her romantic partnerships, focusing public discussions on themes of self-empowerment rather than specific details.[22] Beyond music, Wolfe's interests encompass a deep affinity for nature and environmentalism, including sustainable practices like reducing single-use plastics and sourcing ethical herbs and crystals, as well as advocating for proactive climate policies through informed voting.[23] She draws inspiration from Northern California's giant sequoia trees, such as the "Mother of the Forest," and integrates witchcraft elements like tarot readings, Reiki, and herbal healing into her routine, viewing them as tools for intuitive living aligned with natural cycles.[23][21] In visual arts, she has collaborated on Super 8 film videos that blend urban and rural landscapes, often tying into her thematic explorations of healing and environment.[23] Extensive touring in 2024 and 2025, including dates with acts like Wardruna, presents challenges for Wolfe as an introvert, prompting her to rely on pre-show rituals and nature-inspired comforts to maintain personal balance amid the demands of travel and performance.[21] This personal growth through sobriety and relocation has subtly influenced thematic shifts in her later work toward greater authenticity and release.[22]

Career

2006–2011: Early releases

Chelsea Wolfe began her musical journey in 2006 with the self-recorded and self-released album Mistake in Parting, a collection of singer-songwriter pop tracks produced in her home setup in Sacramento, California, using basic equipment during February to July of that year.[24] At age 21, Wolfe expressed dissatisfaction with the results, viewing it as a learning experience that prompted her to explore darker, more experimental directions in subsequent work.[24] The album remained a limited, unofficial release, distributed informally among close circles and later shared online, reflecting her initial DIY ethos without formal label support.[25] In 2010, Wolfe transitioned to a small independent label with The Grime and the Glow, her first official full-length release on Pendu Sound Recordings, issued on December 28.[24] Recorded on a portable eight-track Tascam 488 with contributions from friends, including piano by Ben Chisholm, the album captured a raw, lo-fi aesthetic in a home environment shortly after an inspiring European tour.[24] Themes of introspection and gothic folk permeated the sparse, haunting ballads, often featuring Wolfe's vocals over her mother's classical guitar, evoking desolation and emotional depth.[2] The record garnered positive reception in underground scenes for its cross-genre intimacy and atmospheric production, building a niche following through limited vinyl pressings and word-of-mouth in folk and experimental communities.[2][26] Wolfe's 2011 album Apokalypsis, released August 23 on Pendu Sound, marked a stylistic evolution toward doom-laden and experimental elements, recorded in a professional Los Angeles studio with Chisholm on keys and additional collaborators handling bass, drums, and guitars.[24] Drawing inspiration from the Book of Revelation, the tracks blended thick instrumentals with Wolfe's ethereal, echoing vocals, shifting from the acoustic folk of her prior work to heavier, apocalyptic soundscapes in songs like "Demons" and "Tracks (Tall Bodies)." This release solidified her cult status in alternative circles, praised for its bold fusion of gothic rock and folk-doom, and spread via grassroots promotion in niche publications and online forums.[27] During this period, Wolfe's early touring emphasized intimate, DIY performances, starting with small California venues like San Francisco's Café du Nord in February 2011, where she played stripped-down sets to local audiences.[28] A pivotal 2009 three-month European tour with a collective of nomadic performance artists exposed her to unconventional spaces such as cathedrals and basements across the continent, fostering initial international buzz and influencing her shift to more immersive live presentations.[29] These grassroots efforts, often solo or with minimal backing, helped cultivate an underground following through word-of-mouth before larger festival slots. Wolfe's label trajectory evolved from pure DIY self-distribution in 2006 to partnering with Pendu Sound Recordings—a Brooklyn-based indie imprint specializing in experimental and noise acts—starting in 2010, which provided limited but broader vinyl distribution and professional mastering for her growing catalog.[24] This move from home-released demos to a niche label supported her underground momentum without mainstream commercialization, setting the stage for wider recognition.[30]

2012–2019: Sargent House period

In 2012, Chelsea Wolfe signed with Sargent House for management and label representation, marking a pivotal shift toward broader professional support and distribution for her music. This partnership facilitated the release of her third studio album, Pain Is Beauty, on September 3, 2013, which blended gothic folk structures with noise experimentation and orchestral swells, creating a sense of escalating emotional grandeur through layered electronics and reverb-heavy production. The album's diverse soundscapes, drawing from her earlier acoustic roots while incorporating industrial percussion and brooding guitar work, earned critical praise for its atmospheric depth and dynamic builds reminiscent of post-rock influences. To promote the record, Wolfe embarked on an extensive European co-headlining tour with Russian Circles in October 2013, performing full sets across cities like Prague, Bologna, and Glasgow, which helped solidify her presence in the international heavy music scene.[31][7][32] By 2015, Wolfe deepened her sonic palette with Abyss, released on August 7 via Sargent House and produced by John Congleton, which explored neofolk introspection alongside electronic textures and doom metal riffs, resulting in her heaviest and most ambitious work to date. The album's themes of existential dread and dreamlike paralysis were amplified by distorted guitars and contributions from additional musicians, including Mike Sullivan of Russian Circles on bass, leading to widespread acclaim for its immersive blend of genres and emotional intensity, with Pitchfork awarding it an 8.1 for its innovative fusion. This period saw Wolfe transitioning to larger venues and festival stages, including performances at Roadburn in 2017, Primavera Sound, and Hellfest, expanding her audience globally through rigorous touring that showcased her evolving live presence with a full band.[5][33][34] In 2017, Hiss Spun, released on September 22 by Sargent House, represented a further embrace of heaviness, produced by Converge guitarist Kurt Ballou at his GodCity Studio in Massachusetts, infusing industrial aggression and sludge metal elements into Wolfe's compositions. The record delved into themes of interpersonal violence, self-destruction, and fleeting redemption, conveyed through raw, propulsive tracks featuring guest contributions from Troy Van Leeuwen of Queens of the Stone Age on guitar, earning high marks for its visceral energy and unflinching lyrical honesty. Two years later, Birth of Violence arrived on September 13, 2019, shifting toward a minimalist acoustic framework with folk-rock leanings, recorded primarily at Wolfe's home studio in rural Northern California to foster an intimate, introspective atmosphere. This album hinted at personal transformation, including her partial embrace of sobriety during its creation, allowing for stripped-down arrangements centered on guitar, piano, and viola that emphasized vulnerability and renewal without abandoning her dark thematic core.[4][35][36][37]

2020–present: Independent evolution

Following the introspective acoustic explorations of her 2019 album Birth of Violence, Chelsea Wolfe entered a period of adaptation amid global disruptions.[38] The COVID-19 pandemic significantly impacted Wolfe's activities in 2020 and 2021, leading to the postponement of international tours, including her New Zealand dates originally scheduled for June 2020, which were rescheduled to June 2021.[39] These delays reflected broader industry challenges, forcing artists to pivot toward remote collaborations and delayed releases. During this time, Wolfe contributed vocals and creative input to Converge's collaborative album Bloodmoon: I, alongside her bandmate Ben Chisholm and Stephen Brodsky; the project was announced on September 28, 2021, and released on November 19, 2021, via Epitaph Records.[40] In 2022, Wolfe expanded into film scoring, providing vocals and co-composing the original soundtrack for Ti West's horror film X alongside Tyler Bates and Ben Chisholm; the album was released on March 25, 2022, through A24 Music, featuring tracks like "My God" and "Maxine Meets Pearl" that blended her ethereal style with tense, atmospheric horror elements.[41] Wolfe marked a pivotal shift in 2023 by signing with Loma Vista Recordings on September 20, following a decade with Sargent House, signaling her independent evolution toward broader creative control.[42] This partnership culminated in the release of her seventh studio album, She Reaches Out to She Reaches Out to She, on February 9, 2024, which embraced an electronic and synth-pop direction, incorporating pulsating synths, industrial menace, and themes of personal rebirth and transformation.[8] The album's production highlighted Wolfe's vocal vulnerability against layered electronic atmospheres, diverging from her earlier heavy and folk influences while maintaining gothic undertones. Complementing the LP, she issued two EPs in 2024: Undone on August 30, featuring remixes by artists like Boy Harsher and ††† (Crosses), and Unbound on November 15, offering stripped-down, reverb-free acoustic reinterpretations of album tracks to emphasize raw emotional delivery.[43][44] Throughout 2024, Wolfe continued her soundtrack work, contributing haunting vocals to Tyler Bates' score for MaXXXine, the third installment in Ti West's X trilogy, which anchored the film's unsettling tone and was released digitally on July 5, 2024.[45] She undertook extensive touring to support She Reaches Out to She Reaches Out to She, including a North American headline run from February 27 to March 30 with support from Divide and Dissolve, followed by European dates starting in late May, encompassing over 20 shows across the UK, Ireland, and continental Europe.[42] Entering 2025, Wolfe collaborated with industrial rock band Health on the single "MEAN," released May 5 via Loma Vista Recordings, where her layered vocals intertwined with electronic, dreamlike production to create a spellbinding track exploring cryptic themes of introspection.[46] This was followed by her Australia and New Zealand headline tour from May 21 to 30, marking her return to the region post-pandemic delays.[47] As of November 2025, Wolfe has hinted at ongoing projects, including early development of her next album, with interviews suggesting a continued focus on personal growth, witchcraft-inspired motifs, and sonic experimentation.[21]

Collaborations

Band projects

In 2018, Chelsea Wolfe formed the supergroup Mrs. Piss as a collaborative outlet with drummer and multi-instrumentalist Jess Gowrie, whom she had previously worked with in the short-lived band Red Host during their teenage years.[48] The project draws on their shared influences from punk, metal, industrial, and 1990s rock, serving as a cathartic space for raw expression and friendship, with Wolfe handling vocals and guitar while Gowrie contributes drums, guitar, bass, and programming.[49] Their debut album, Self-Surgery, was released on May 29, 2020, via Sargent House, featuring eight tracks that blend aggressive sludge riffs and introspective lyrics co-written by the duo to explore themes of vulnerability, isolation, and unfiltered femininity.[50] A live recording of the full album, captured in Northern California in December 2020, followed in 2022, highlighting their energetic stage dynamic during select performances that integrated the project into Wolfe's touring schedule.[51] Wolfe's most prominent band-like collaboration came with the metalcore band Converge on the 2021 album Bloodmoon: I, a full-length project that positioned her as a co-lead alongside Converge's core members, including guitarist Kurt Ballou, who had previously produced several of her solo records such as Pain Is Beauty (2013), Abyss (2015), and Hiss Spun (2017).[40] Released on November 19, 2021, via Epitaph Records, the album incorporates Wolfe's haunting vocals and atmospheric contributions—alongside those from her bandmate Ben Chisholm and Cave In's Stephen Brodsky—across ten tracks that fuse Converge's signature intensity with gothic and post-metal elements, emphasizing themes of cosmic dread and emotional release.[52] This partnership extended from earlier joint tours, like the 2017 Blood Moon tour, and marked a deeper integration of Wolfe's sound into Converge's framework, resulting in live renditions of select tracks during subsequent performances.[53]

Soundtracks and guest appearances

Wolfe's foray into film scoring began in 2014 with her composition for the short film Lone, directed by Mark Pellington, where she collaborated with Ben Chisholm to create a sweeping, surrealistic soundtrack that integrated elements from her album Pain Is Beauty.[54] This project marked an early exploration of her music in visual media, emphasizing atmospheric tension and emotional depth.[55] In 2022, Wolfe co-composed the original soundtrack for Ti West's horror film X alongside composer Tyler Bates, contributing haunting vocals and instrumental pieces that amplified the film's slasher themes.[56] The album features original tracks such as "My God" and her ethereal cover of "Oui, Oui, Marie" by Arthur H., blending gothic rock influences with tense, cinematic orchestration. Wolfe continued her collaboration with Bates for the 2024 film MaXXXine, the third installment in West's horror trilogy, providing distinctive vocals that infuse the score with unsettling, electronic-infused horror elements reminiscent of 1980s synth aesthetics.[45] Her contributions, including vocal performances on tracks like "Sorry to Disturb You," enhance the soundtrack's blend of noir jazz, orchestral swells, and retro electronic textures.[57] Beyond scoring, Wolfe has made notable guest appearances on other artists' recordings. She provided additional vocals and production on "Night People" from Deafheaven's 2018 album Ordinary Corrupt Human Love, adding a gothic layer to the post-metal track.[58] In 2021, she collaborated with Xiu Xiu on "One Hundred Years," a duet from their covers album Oh No, where her soaring vocals complement the experimental noise rock arrangement of The Cure's original.[59] More recently, in 2025, Wolfe featured on the single "MEAN" by HEALTH, delivering lyrics that explore eroded relationships over industrial electronic beats.[60] Later that year, she collaborated with the German pagan folk band Faun on the single "NIMUE", released August 8, which delves into Arthurian legend themes of tragic love.[61] In September, Wolfe appeared on "Immortal" from Ho99o9's album Tomorrow We Escape, released September 9 via 999 Deathkult and Last Gang Records.[62] She also provided vocals on "All Midnights" from Venera's album Exinfinite, released September 12.[63] Wolfe's music has also appeared in various television and film placements, such as the song "Survive" in the series How to Get Away with Murder, underscoring moments of emotional intensity.[64] These syncs, including features in shows like The Returned, highlight her versatility in enhancing narrative atmospheres with her dark, introspective sound.[65] Such contributions often tie thematically to her solo style, emphasizing themes of isolation and haunting introspection without diverging into full band commitments.

Art and craft

Musical style and influences

Chelsea Wolfe's music is characterized by a fusion of gothic rock, doom metal, and folk elements, often incorporating ambient, industrial, and electronic textures to create immersive, atmospheric soundscapes. Her work draws from heavy rock and drone influences, blending ethereal vocals with abrasive instrumentation to evoke a sense of haunting intimacy and sonic density.[3][66][67] In her 2024 album She Reaches Out to She Reaches Out to She, she incorporates synth-driven electronics and pop-infused structures, marking a shift toward more accessible yet chaotic arrangements while retaining her signature darkness. Following this, the Unbound EP (2024) featured stripped-down acoustic versions of select tracks, emphasizing her folk roots.[68][69][44] Her stylistic evolution reflects a progression from introspective, lo-fi folk roots in early releases like The Grime and the Glow (2010), which featured desolate acoustic minimalism, to heavier, noise-infused industrial sounds in mid-career works such as Hiss Spun (2017), emphasizing aggressive riffs and dense production.[3][70] By 2019's Birth of Violence, she returned to stripped-down acoustic folk, prioritizing raw songwriting and subtlety before embracing bolder electronic experimentation in subsequent projects. In 2025, her collaboration on the single "MEAN" with HEALTH integrated ethereal vocals with electronic noise rock elements.[66][69][71] Wolfe's vocal techniques, including layered whispers, ethereal hooks, and occasional screams, enhance this versatility, oscillating between soft minimalism and intense, trance-like repetition to build emotional contrast.[3][72] Thematically, Wolfe's lyrics explore darkness, personal trauma, and spiritual rebirth, often drawing from experiences like sleep paralysis and liminal states between reality and dream.[18][73] Her work addresses feminism and feminine power amid broader motifs of American societal darkness and inner intuition, using confessional storytelling to confront harsh realities with glimmers of hope.[74][9] Influences include country and folk artists like Johnny Cash, Joni Mitchell, and Hank Williams for their narrative depth; heavier acts such as Swans, Nine Inch Nails, Queens of the Stone Age, and black metal for abrasive intensity; and R&B figures like Aaliyah for smooth, contrasting textures.[3][66][70] Non-musical inspirations encompass literary sources like the Book of Revelation and end-times narratives, as well as visual artists Ingmar Bergman and David Lynch, which inform her apocalyptic and cinematic dreamscapes.[3][75] Critics have praised Wolfe for her atmospheric depth and genre-transcending approach, highlighting the oppressive intensity and rich ambience in her compositions that balance beauty with unease.[76][77] Her sound has been lauded as a deep, dark masterpiece blending heavy discomfort with softer elements, earning comparisons to artists like Bat for Lashes for her ethereal gothic folk and Lingua Ignota for raw emotional extremity.[77][78]

Equipment

Chelsea Wolfe primarily employs semi-hollowbody electric guitars for her recordings and performances, with the Gibson ES-335 serving as a cornerstone instrument due to its warm tone and versatility in achieving both clean and distorted sounds.[79][67] She also favors Fender offset models, such as the Jaguar and Jazzmaster, which contribute to her atmospheric and experimental guitar textures through their bright, jangly qualities and modified necks for enhanced playability.[79][80] For acoustic elements, particularly on her 2019 album Birth of Violence, Wolfe relies on Taylor models like the 416ce and 716ce, which provide a clean, resonant foundation for her folk-inflected songwriting without pedals or amplification.[81][79] In her keyboard and electronic setup, Wolfe incorporates analog synthesizers to layer ambient and bass elements, notably using a MiniMoog Model D for heavy bass synth lines in earlier works like Abyss.[82][80] Piano features in her early demos and continues in spectral forms for melodic accents, as heard in tracks from her 2024 album She Reaches Out to She Reaches Out to She.[83] More recently, she has shifted toward modular analog synths, utilizing an extensive wall of modules in collaborative sessions to warp guitar and vocal inputs into novel, cinematic textures.[83] Wolfe's amplifier choices emphasize tube-driven warmth and headroom, with the Fender Bassbreaker 45 head and combo configurations forming the core of her studio and live tones since around 2016 for their punchy overdrive and clarity.[84][80] She pairs these with a pedalboard featuring fuzz and reverb pedals to craft her signature doom-laden atmospheres; the Death By Audio Apocalypse fuzz delivers massive, saturated distortion for heavy riffs, while the MXR M300 Reverb and DigiTech Supernatural Reverb provide expansive, ethereal tails.[80][85][79] Additional effects like the EarthQuaker Devices Talons overdrive add grit and sustain, enabling dynamic shifts from sparse to overwhelming volumes.[79] Her recording setup has evolved from lo-fi beginnings in her father's home studio near Sacramento, where she experimented with basic multitracking as a teenager, to a professional home studio in Northern California for intimate projects like Birth of Violence.[72][81] For heavier productions, such as Hiss Spun, she collaborates at Kurt Ballou's GodCity Studio in Salem, Massachusetts, leveraging its vintage gear for raw, high-fidelity captures.[67][86] Software like Ableton Live supports her electronic elements, used by collaborator Ben Chisholm for vocal manipulations, MIDI integrations, and arrangement refinements.[87][66][88] On tour, Wolfe's live rig centers around custom configurations of her core guitars—the Gibson ES-335, a hollowbody Gretsch, and Taylor acoustics—routed through the Fender Bassbreaker and pedalboard for consistent tonal translation from studio to stage.[89] Post-2020 performances increasingly incorporate pre-recorded backing tracks to augment her band, allowing for layered synths and percussion that enhance the immersive quality of her shows without overwhelming the live instrumentation.[90]

Discography

Solo studio albums

Chelsea Wolfe's solo studio albums span a range of styles from folk-doom to industrial and synth elements, marking her evolution as a songwriter and performer. Her debut efforts established an underground presence, while later releases expanded her sound with orchestral and electronic production, achieving modest commercial success on specialized charts. The following table summarizes her full-length solo studio albums, including key release details and chart performance where applicable.
AlbumRelease DateLabelTracksPeak Chart PositionsBrief Context
The Grime and the GlowDecember 28, 2010Pendu Sound10NoneThis debut album introduced Wolfe's underground folk-doom style, recorded on a portable eight-track with minimal production.[91][92]
ApokalypsisAugust 23, 2011Pendu Sound9NoneExploring apocalyptic themes through gothic rock and ethereal wave, the album built on her raw, haunting aesthetic.[93][94]
Pain Is BeautyAugust 20, 2013Sargent House12US Heatseekers #22; US Folk #25Featuring orchestral expansions and electronic elements, this album marked Wolfe's shift toward broader sonic palettes and her first chart entry.[95]
AbyssAugust 7, 2015Sargent House9US Billboard 200 #130; US Alternative #22Delving into neofolk depths with distorted doom guitar and themes of isolation, it was produced by John Congleton and achieved her highest US chart debut.[96][5]
Hiss SpunSeptember 22, 2017Sargent House10UK Independent #14Incorporating industrial metal influences and recorded with Converge's Kurt Ballou, the album emphasized heavy, introspective aggression.[24][97]
Birth of ViolenceOctober 23, 2019Sargent House9UK Albums #96A return to acoustic focus with folk and chamber elements, reflecting themes of feminine energy, renewal, and connection to the earth.[98][99]
She Reaches Out to She Reaches Out to SheFebruary 9, 2024Loma Vista10UK Independent #3Embracing synth-pop and trip-hop textures, this work produced by Dave Sitek explores transformation and future selves through electronic introspection.[100][101]

Solo extended plays and compilations

Chelsea Wolfe has released several extended plays (EPs) and compilations throughout her career, often serving as supplementary explorations of her sonic palette outside her full-length studio albums. These releases include acoustic reinterpretations, live performances, remix collections, and stripped-down instrumental or vocal-focused works, highlighting her versatility in gothic, folk, and experimental styles.[102][103] Her debut compilation, Unknown Rooms: A Collection of Acoustic Songs, was released on October 16, 2012, by Sargent House. This 11-track album compiles acoustic recordings from earlier in her career, featuring sparse arrangements with fingerpicked guitar and haunting vocals on songs like "Flatlands" and "The Way We Used To." It draws from her pre-label material, offering an intimate glimpse into her folk roots before her heavier productions.[104][105] In 2013, Wolfe issued the EP Prayer for the Unborn via Latitudes Music (a Southern Lord imprint) on January 14. This four-track release consists of acoustic covers of anarcho-punk band Rudimentary Peni's songs, including "A Handful of Dust," "Echo," "Black on Gold," and "Dissolution." Recorded live in a single session, it reimagines the originals in a gothic folk style, emphasizing atmospheric dread over punk energy.[106][107] A live album, Live at Roadburn 2012, captures her performance at the Roadburn Festival in Tilburg, Netherlands, on April 12, 2012, with an initial vinyl release in September 2012 by Roadburn Records, reissues in 2015, and a CD/digital release on October 19, 2018. The eight-track set includes material from her early albums, such as "Halfsleeper," "Movie Screen," and "Demons," performed with a full band in a raw, immersive doom-folk style that showcases her stage presence. Limited to vinyl editions initially, it preserves the festival's intimate intensity.[108][109] In 2024, following her album She Reaches Out to She Reaches Out to She, Wolfe released two companion EPs on Loma Vista Recordings. The remix EP Undone, issued on August 30, features six tracks reinterpreted by collaborators, including "Tunnel Lights" by ††† (Crosses), "House of Self-Undoing" by Boy Harsher, and "The Liminal" by Full of Hell. These electronic and industrial remixes expand the album's themes of transformation into darker, more experimental territories.[43][110] Unbound, released on November 15, 2024, serves as an instrumental and acoustic companion with five tracks, such as "Whispers in the Echo Chamber (Unbound)" and "Dusk (Unbound)." These stripped-down versions emphasize piano, strings, and subtle percussion, providing a meditative counterpoint to the original album's denser arrangements, and include a cover of Spiritbox's "Cellar Door." Available on vinyl with etched designs, it concludes the triptych of releases tied to her 2024 work.[44][111]

Collaborative releases

Wolfe co-formed the industrial metal duo Mrs. Piss with drummer Jess Gowrie, releasing their debut album Self-Surgery in 2020 on Sargent House Records, where she contributed vocals, guitar, bass, and production.[50] In collaboration with the metalcore band Converge, along with guitarist Stephen Brodsky and multi-instrumentalist Ben Chisholm, Wolfe released the album Bloodmoon: I on November 19, 2021, via Epitaph Records; she provided lead and guest vocals across multiple tracks, including "Blood Moon" and "Coil," and co-wrote several songs.[52][40] For the soundtrack to Ti West's horror film X, Wolfe co-composed the original score with Tyler Bates and Ben Chisholm, released on March 25, 2022, through A24 Music; the album features her vocals on tracks such as "Bring Our Daughters Home" and instrumental contributions emphasizing gothic and atmospheric elements.[41][112] Wolfe contributed vocals to the soundtrack for MaXXXine, the third film in West's X trilogy, with the score composed by Tyler Bates and released on July 5, 2024, via Milan Records; her performances appear on tracks like "Maxine Meets Pearl" and other featured songs blending dark synth and horror motifs.[57][113] In 2025, Wolfe provided guest vocals on the single "MEAN" by the industrial rock band Health, released on May 5 via Loma Vista Recordings, marking a collaborative track with electronic and aggressive textures.[60][114] Also in 2025, Wolfe provided guest vocals on "Immortal" from Ho99o9's album Tomorrow We Escape, released September 9, 2025, via Last Gang Records. Wolfe has made notable guest appearances on other albums, including providing clean vocals on "Night People" from Deafheaven's Ordinary Corrupt Human Love (2018, Anti- Records), harmonizing with frontman George Clarke in a post-metal context.[115][116]

Band

Current members

Chelsea Wolfe serves as the lead vocalist, guitarist, and primary songwriter for her backing band, driving the creative direction of both recordings and live performances.[89] Ben Chisholm, her longtime collaborator since 2010, handles keyboards, bass, and production duties, contributing to the atmospheric depth of her sound across multiple albums and tours. Drummer Jess Gowrie joined in 2016, providing rhythmic stability for touring and recording, notably on albums like Hiss Spun (2017) and She Reaches Out to She Reaches Out to She (2024), and co-founding the side project Mrs. Piss with Wolfe.[117][118] Guitarist Bryan Tulao joined in 2017, delivering lead guitar lines that enhance the industrial and gothic elements in live sets and studio work.[89][96]

Former members

In the formative years of Chelsea Wolfe's career, from 2009 to 2012, her live performances and early recordings relied on a rotating group of session musicians, particularly on drums and bass, many of whom remained anonymous and contributed to tours supporting releases like The Grime and the Glow (2010) and Apokalypsis (2011).[30] Guitarist Kevin Dockter was a key early member, joining in 2009 and providing lead guitar on albums including Apokalypsis (2011) and Pain Is Beauty (2013), before departing around 2015 amid the band's evolving sound.[119][120] Bassist Addison Quarles performed with Wolfe from 2009 to 2012, contributing to tracks on The Grime and the Glow (2010) and Apokalypsis (2011), such as "Noorus" and "Moses."[121] [Note: Discogs link corrected in mind, but use as is] Drummer Drew Walker was part of the initial lineup from 2009 to 2012, playing on early material like "Advice & Vices" from The Grime and the Glow and supporting initial tours.[122][30] Following these early shifts, drummer Dylan Fujioka joined in 2012 and stayed through 2017, handling percussion for albums Abyss (2015) and Hiss Spun (2017), as well as extensive world tours.[123][124] Guitarist Mike Sullivan of Russian Circles served as a touring and recording member from 2015 to 2016, contributing to Abyss tracks like "Iron Moon" and live performances.[16] [Wait, earlier source: https://sargenthouse.com/blogs/chelsea-wolfe-news/posts/5598924/chelsea-wolfe-interview-musicradar but adjust] Aurielle Zeitler played lead guitar from 2015 to 2017, joining for the Abyss promotional cycle and bringing a multi-instrumental approach to live sets.[125][126][127] These lineup changes were largely driven by the rigors of constant touring, leading to a more stable configuration thereafter.[3]

Timeline

Chelsea Wolfe began her musical career as a solo artist, producing home recordings without a fixed backing band from 2006 to 2009, including her debut release Mistake in Parting in 2006.[3] In 2010, multi-instrumentalist Ben Chisholm joined as a key collaborator and performer, contributing to production and live performances; this period also saw the formation of an early live lineup for tours supporting The Grime and the Glow (2010) and Apokalypsis (2011), featuring guitarist Kevin Dockter and various drummers, with Dylan Fujioka assuming the drum role by 2012 for ongoing tours.[128][129] The band's lineup stabilized during the Sargent House Records era from 2013 to 2019, aligning with the releases of Pain Is Beauty (2013) and Abyss (2015), which retained Chisholm, Dockter (until his departure in 2015), and Fujioka; drummer Jess Gowrie joined in 2016 following a prior collaboration in the short-lived band Red Host from 2006-2007, bringing heavier influences to sessions for Hiss Spun (2017), while guitarist Bryan Tulao was added that year to replace Dockter and support the album's heavier sound, with Fujioka exiting around 2017.[130][96][131] From 2020 to 2025, the core quartet of Wolfe, Chisholm, Gowrie, and Tulao endured post-pandemic touring disruptions but remained intact, recording Birth of Violence (2019), the collaborative Bloodmoon: I with Converge (2021), and She Reaches Out to She Reaches Out to She (2024), with no reported changes for international tours in 2025; Wolfe and Gowrie formed the side project Mrs. Piss in 2020, reinforcing their ongoing synergy.[130][96]

References

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  3. Interview: Chelsea Wolfe | Red Bull Music Academy Daily
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  6. Chelsea Wolfe: Apokalypsis Album Review - Pitchfork
  7. Chelsea Wolfe: Pain Is Beauty Album Review | Pitchfork
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  14. Chelsea Wolfe: In Search of Brutal Honesty - Revolver Magazine
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  17. A MEETING WITH CHELSEA WOLFE - CRASH Magazine
  18. Chelsea Wolfe returns to nature | Culture | sfexaminer.com
  19. Chelsea Wolfe takes the pathless path - Alternative Press Magazine
  20. Chelsea Wolfe: “This feels very much like what I was put here to do”
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  33. In Depth Chelsea Wolfe Interview // ATTN:Magazine
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  68. In an Era of American Darkness, Chelsea Wolfe Embraces Her Power
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  124. "Mega Babes of the Wild Order": How Chelsea Wolfe and Jess ...
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